Category: features (page 1 of 2)

After hearing Shedrick was putting out a new book we got inspired to start covering more artistic projects besides video and music releases. For our first non-music feature we are focusing on Shedrick Pelt and ‘2009 and Beyond’ a photography book that compiles some of his finest and most intriguing shots from over the last ten years.

Some of you may know Shedrick has a little history with the label. First introduced through the longtime homie Supa of Sortahuman; we met the fellow Huntsvillian (Shedrick) and his brother Dizzy D when they came up to Nashville in 2012 to support and document a rare occasion. Sortahuman and Dizzy D opened with a set at a show with headliner Riff Raff in a now-defunct boutique shop in downtown Nashville. Footage from this night can be seen in the Sortahuman X Dizzy D collab video for “BOUT THAT.” (Also Shot and edited by Shedrick) We’ll save the finer details of that wild night out for another time. You can get a good idea of the amount of debauchery from the intro alone…

We worked with him for a good portion of our early releases and he helped develop the standard we set and try to break with every release. He was with us from the first release “Supasonic’ (Supa Sortahuman X Shawn Kemp) and we eventually put out ‘Pine Grove’ by his bro Dizzy D and we have worked with him as recently as our release for Mr. Muthafuckin’ eXquire ‘Live Forever.’ Shedrick was working with him as a photographer at the time and approached us about a rare release opportunity and he secured that addition to the Candy Drips catalog.

Before and after his time helping Candy Drips Shedrick was busy grinding and building his brand and resume as not only a go-to graphic artist but also as a sharpshooting photographer as well. SdotPdotmedia has done a lot over the last decade. From small business features to shooting live sporting events and concerts he is always taking the initiative to approach his subjects from all angles. He keeps his focus on unique marketing materials while maintaining his roots and always aims to grow within art communities on both underground and main-stream levels. His talents also extend to product promotion and video production. He really is capable of handling a whole marketing campaign from concept to execution and every physical element along the way.

“The book, 2009 and Beyond, is a visual journey through my history as a music photographer and with emerging and world-class artists. Documenting the culture has always been about “boots on the ground”. Whether in DC, New York, Austin, or Berlin, street level is where I want to be – not watching from afar or sitting behind a Mac screen. Right in the mosh pit or on top of a garbage can to get the perfect angle. Images found in this book will give you a glimpse into what it looks like through my lens. I’ve been blessed to revel in many precious seconds and document a culture that is highly exposed, heavily attended, but rarely experienced.” – s.pelt

Check this video out of Shedrick’s visit to SXSW in 2013.

With over 120 photos of some of our favorite artists, artists we’ve seen go from underground heroes to super star status like Kendrick Lamar or Vince Staples to underground underrated taste makers like SpaceGhostPurrp and Main Attrakionz; ‘2009 and Beyond’ is one to cop for the culture! This release is inspiring for us and we all know that’s the reason we do any of this; rap, draw, create and build; to express and inspire! Follow Shedrick and his adventures over the last few years from more intimate concerts to major events like SXSW.

If you move fast you may be able to score a free long sleeve shirt with your purchase of the physical book! Shirts feature some mono-print versions of pictures from the book. The shirts were made in collaboration with and include original designs on the sleeves from Trill City. Sizes and colorways are limited. ALSO For a limited time let’s say through the end of September, we will honor a 50% discount off your order on our web store. Email us proof of purchase for ‘2009 and Beyond’ at (Candydripsrecordlabel@gmail.com) and use the code “SDOT2009” before making your payment!

We want to do the most for independent artists who are helping to build a scene and document the experiences of these efforts to share with those who support us and our vision and we want to do the most for those supporting them and us! Look forward to seeing similar discounts in the future. Check out some more photos of the book below and fresh pics of the pre-order shirts as well!

Last month, I spoke with New York rapper Billy Woods: the Backwoodz Studioz mastermind responsible for some of the best solo hip-hop albums of the decade. Like Dour Candy (2013), like Today, I Wrote Nothing (2015), like Known Unknowns (2017). Woods is also part of the duo Armand Hammer, a group which includes rapper/producer Elucid. The two returned full force at the end of last year with their third album Rome. Then Elucid released a solo album. Then the duo released three music videos as well as a vinyl-only album Paraffin, which dropped in July. Fingers crossed for a digital version down the road. I spoke with the prolific MC about his creative process, his work space, his music rotations, and much more.

How’s 2018 been treating you so far right now?

Honestly? It’s been terrible. Hopefully some good writing comes out of it because 2018 has been an unmitigated disaster thus far from the moment I opened my eyes on January 1st.

You’ve released solo albums in 2013, 2015, and 2017. Given this two year pace, can we expect your next in 2019?

I never noticed that pattern before and that’s a good question. I have some stuff I’m excited about but currently waiting for some collaborators to clear their calendars, so it’s hard to say. And I hate stopping the middle of a project to work on a different one because I feel like each thing needs to be it’s own chamber, I get worried they will be too similar. Maybe that’s something I need to let go of, who knows.

Your solo and collaborative albums are incredibly consistent. Do you build them up slowly? Or do you create in bulk and trim down the tracks?

Thank you. That’s a complicated question to answer because every one of them was made a bit differently. History Will Absolve Me had lots of producers but also involved a lot of recording and winnowing out the best tracks. It was really about me and engineer/producer/consigliere Willie Green locking in and working in a bit of a vacuum. Dour Candy and Known Unknowns are basically one-producer records, there wasn’t a lot of extra fat to trim, because Blockhead (nor Aesop for that matter) isn’t giving me tons beats at a time and not everything I get is going to fit what I’m looking for. I do still have a couple joints that didn’t make it onto Known Unknowns though, and bizarrely all of them were collaborative songs. Today, I Wrote Nothing was the quickest album I ever made and was a project where form and concept dictated everything. I recorded most of that at ELUCID’s spot and it was intentionally a very un-fiddled with project. I wanted something visceral and unedited, I made songs as long as I felt in the moment, no longer, I rewrote nothing. As for Armand Hammer; collaboration necessitates entirely different processes.

You have one of the most unique, freeflowing voices in hip-hop. What’s your writing process like

Honestly, it really depends a lot on the project but usually I find a beat and see where it takes me. Sometimes I just down ideas or concept or just a line that I think might take me somewhere and then come back to that list if I am looking for inspiration. I sit at my desk and smoke and drink tea and write and yell at my cats.

What does the future of Backwoodz Studioz entail?

Nothing is promised. I hope we can continue to build, expand our reach, keep putting out records and artwork that I am proud of.

My workspace is a wooden desk I brought to my current hideout in a semi-abandoned building in Crown Heights, awaiting the gentrifiers wrecking ball. I first got this desk off the streets of Brooklyn in the early 2000s and it’s beyond scuffed, it’s probably fair to say “battered”. On top of that are three books: a dog-eared James Baldwin biography, John Stockwell’s In Search of Enemies, and Homer’s Odyssey- which I have never actually read. There are haphazard piles of bills, random photos, a hard drive, a cup of tea, water, a watch Willie Green gave to me, a big thing full of pens, markers and scissors, some Harpers magazines, scraps of paper with notes on them and a notice from the gas company that I still owe them money from the old apartment. There is an ashtray with a spliff of that Uptown Haze in it. There is a small black cat looking out the window and an even smaller silver laptop. There is an Ironman CD in the case for Dizzee Rascal’s Boy In the Corner. I have no idea why it’s even out as I currently have no CD player. There is an untidy stack of more books and graphic novels and old comics all thrown together from the recent move that I should organize but haven’t. There is a document shredder and a Sunday edition of The New York Times from a week ago. There are two separate broken pairs of headphones.

If you were to empty your pockets, what would you find?

I have never had a wallet so, keys, cash, ID and bankcard, papers, loose change, some list of tasks written on a piece of paper and folded up in a back pocket a week ago.

On ‘Revenge’ this Virginian rapper’s latest, Lil Percy sounds like he just woke up, sparked up and couldn’t help but go off about the bullshit permeating his atmosphere and his M.O. is flexing. He rises above, dismissing all the obstacles in his way with exhales of legato flows, and Percy isn’t just blowing smoke. Take a ride on this very airy and dynamically punchy roller coaster of intoxicated confidence v.s. introspection, and don’t let the clouds get in your eye, Percy isn’t some old weed rapper, he’s got an energy that’s uniquely chill but far from a mumble.

It’s been said that the best form of Revenge is Success, and while nothing is guaranteed in this life, Percy is gonna get to the top at some point. Paralleled with the progression that the album takes as a whole is his idea of success in self expression and the ability he sees within himself to make his own way and not waste anymore time with fake love and friends or foes. He has his eyes on the prize and he’s locked in.

If “Revenge” were a hot sauce, and it definitely is some flames, it would be a “creeper” … starts off with plenty of flavor and insight into the tracks ahead but it definitely builds as it goes along, keeping you intrigued and feeling like you can’t get enough. With only 12 tracks averaging less than two and half minutes each, you reach the albums last song and aptly titled “Ending” before you know it. This is a great pre-game or after party soundtrack, not anything to sleep to but would suit you well if stuck in stand still traffic with a little time and angst on your hands and visions of achieving your wildest dreams or having the best possible time trying.

This single was featured three weeks ago by LOST APPEAL on their exclusive sound cloud page – you should definitely give them a follow.

Rapper/producer AJ Suede will go down as one of the most prolific underground rappers. Steadily releasing cohesive and bar-heavy projects, Suede has already delivered with three EPs in the last three months. Let’s get familiar.

Most recently, we received Rain Based, which came fully produced by cloud rap icon Keyboard Kid. Five songs in length, the EP is lost in the clouds, smooth as hell, and complete with features from BB Sun and BB Rob God. Although Suede is from the East Coast, this is most assuredly a Seattle affair.

Prior to Rain Based, AJ Suede released the five song EP System of a Frown II. It came fully produced by Nedarb (just like the first volume). As a result, it’s dark, it’s haunted, it’s full of hi hats. Suede really shines on the track “Made a Difference”, which demands a quality sound system.

Before these two executively produced EPs, Suede dropped the six song Melancholy Trill II. Recorded in Seattle, it’s a unique release as it features a different producer on every track. With familiar names like BB Sun, Wolftone, and JPEGMAFIA, the project goes down as a quality first release of Suede’s 2018. With three already in the ring, we can certainly expect more as the year progresses.

‘I am no longer making “memphis revival” “phonk” “buck shit” that all gets boring after a while and it will only place me in a boxed genre, I must continue on my sonic quest to create the hottest loops a man could possibly produce. for the sake of TRUE art.’ – Kevin The Creep

Took this excerpt from the linear notes on these albums because it shows growth, not assimilation. Imagine being in a nascent subgenre movement, born out of love for a 20+ year old subgenre, surrounded by half assed attempts, fake reverence and annoying fans unwilling to think outside all boxes on their own and his statement is almost palatable. Everything is becoming so memetic, breaking away is absolutely good for your mental, spiritual and physical well being, and I personally love the sound, from its original period which I was all about, back then, to the handful of young artists breathing life into it now. There is a line though and its getting trampled.

On 4/20/2018, the S.I.C records owner and certified slap creator (having extensively produced for underground greats like Stone Dogg, Lil Kaine, DMT Demons, Five Finger Posse, Tyris White, Mista Frost etc) dropped a Double album, both 50 tracks strong (!) called MARBLE ETERNITY and MARBLE ETERNITY: SYNCHRONIZATION, respectively. They each equally play like lo-fi gauntlets thrown down to distance the artist from a mistaken bunching in with a particuliar wave and it WORKS. Proudly displaying his DJ Screw influence (having already released multiple tributes to the late, great Robert Earl Davis Jr) that blends seamlessly with vaporwave, g funk and that warped cassette sound that only tapeheads can grow to love are found slathered all over both these 50 track strong releases.

One great thing is the sample collecting skills of Kevin The Creep. With 100 short junts, you’d expect to recognize many loops but this cat is in a zone with these obscure cuts right here. Now naturally, there are samples you will catch (not giving any away, you need to enjoy them ya damned selves) but they are reconceptualized, slurred and blurred which gives them a new strut through your headspace. It’s so smoove I don’t feel the need to zoom in on any single cut, the double album works as proper mood music. I dig it all, its like DVD loading screen music for the grooviest, filthiest tagbanging video series that was never released, until now.

Out now via S.I.C Records in limited edition vinyl, cassette and digital format. Check out the shop for this and a WHOLE LOT of other gems, digital and physical!

Rap trio is back in rare form with their new single “Pre Season.” After a brief hiatus, the Birmingham group hone in on their patented flows, their strong ear for production, and their unabashed lyrics. Both aggressive and energetic, this drum-laden track (produced by Anthem Beats) is the definition of the talent of K.L.U.B. Monsta. It acts as their manifesto, a testament, an appetizer. With KENXL (one of the best directors in the Southeast) behind the lens, K.L.U.B. Monsta delivers a cryptic but prime view of how they run the city in the visual for “PRE SEASON”. Shot near some of the alleys and railways of Birmingham, KENXL captures the energy of the chase as K.L.U.B. Monsta mobs through the city unknown if they are the hunted or the hunter. “PRE SEASON” is the first visual off K.L.U.B. Monsta’s upcoming debut album When Gawd Ready. This is simply a taste of whats to come for the talented Birmingham group.

It is so great to hear new music from Stash Marina! The wildly talented rapper, singer’s and all-around-awesome person’s latest Xposed is absolutely her best work yet. The whole EP feels like a sort of personal essay or poem. Really Stash describes Xposed the best on the Ep’s Intro. Over a new age slow jam of a beat, Stash sets things up for us: “I like to keep it upbeat, happy. But that’s not the reality of things. There’s a time to show people they can have fun, but still express how I feel about shit.” And Stash truly is expressing how she feels. She totally bares her soul on Xposed. The Ep is a mediation on relationships, The good, bad and ugly. And, how they go from good to bad to ugly.

One of the standout tracks later on Xposed, is the dark, wavy R&B of “Swoop’d.” Stash tells the story of a relationship starting out with infatuation: “everything about you I had never seen before/pants, shoes, attitude.” But, as the song goes on we see things fall apart: “you just making shit up to a twisted reality/you don’t want me and/you sabotage it again and again and again.” At this point Stash is angry sad, maybe confused, but then we get to the aftermath when she sings “Yeah I got my heart broke/I don’t give a fuck/because at least I got to try this shit out” Stash’s music has always been self aware and insightful, but Xposed is really next level. Those lines at the end of “Swoop’d” are an important theme throughout the whole project. Stash is right there in the moment feeling these powerful emotions, but at the same time she is taking a step back and reflecting on everything she has been through.

Right after “Swoop’d” is the the EP’s saddest moment, “lovelost.” Stash opens the track the very heavy and very real statement “This is a sad one. It was the only one that actually mattered.” And, she goes on to rap about reconciling memories of an ex who she has feelings for– “visualizing your face thinking of you as nothing but that gold,” –but who she knows has hurt her and will do it again: “you still didn’t hear me/tore me up to watch it/you knew me too well/and you still jumped out of pocket.”

I know I described Stash as a “rapper and singer,” but really her music is unique a hybrid of both. On one of the Ep’s more playful moments, the excellently named “you betta be muh fuckin jesus,” she raps for the most part, but sings her adlibs in the background effortlessly. Stash has always mixed singing and rapping in her music, but her vocals on Xposed are the strongest they have ever been.

The production also is a perfect fit for Stash’s balance of emotional depth and introspection, but also just her downright grooviness and swag. Over its 8 tracks, Xposed features a diverse batch of soulful and complex production with contributions from many of her frequent collaborators. Feathermeal, Don D, Froze and Blown (of Candy Drips fame!) and Stony Willis all have beats on the project. The production ranges from the ethereal reggae of “RosyHips” to the lo fi jazz rap of “you betta be muh fuckin jesus” to the bass heavy funk of “muerte del amour.” Not to mention that unique synth anthem for the aforementioned “XPOSEDintro”, and the solemn, minimal sounds on “Lovelost.”

Even though she is being very open and vulnerable on these songs, we should in no way take that as sign of weakness. As Stash points out in the intro: one side of Xposed is exposing her feelings and experiences, the other is about exposing folks who have wronged her. “fuk boi” has got to be one of the most beautiful R&B songs calling out shitty men. And, the more songs calling out shitty men the better. The whole song is full of great lines, but one of my favorites is: “And you bragging to your boys how your money game specific/but you show up to my crib with a beer/asking can we split it/oh you ballin now.”

The righteous anger continues on the triumphant “free.” Stash once again goes in on people who are her way: “excuse me? Do I need to go get my peeps and kick your bitch ass on Canal Street?” It’s a hilarious line, and it’s clear Stash is not taking anyone’s shit. But, Even though this track is much more aggressive than other moments on Xposed , Stash still keeps things positive: “stop hating on us get your shit up with us.” Having “free” as the EP’s final track is a brilliant way to sum up the project. Stash has gone through a lot. But, in the end she is moving forward with her head up, handling her shit. She’s free.

L.A.-based producer and musician Nedarb has one hell of a discography. Not including production features, Ned has released over 100 songs on his own SoundCloud, including tracks with artists like Slug Christ, Yung Bruh, Eric Dingus, Cat Soup, Little Pain, Lil Peep, Wifigawd, and countless others. Now, as he prepares to tour through November with Ghostemane, Wavy Jone$, and Chxpo, as well as planning a few more releases before 2018, we decided to reach out to Nedarb and talk about his process, his drink of choice, and the influence of cloud rap.

Nedarb: Yerrr. I’m Nedarb or Ned or just plain old Braden. I’m 24, live in Los Angeles and am primarily a producer among other things.

Candy Drips: You’re closing out the year with a month long tour. Are you all ready to go?

Nedarb: Yes I’m going on tour with Ghostemane, Wavy Jone$ and Chxpo! I’m as ready as I can be. We’re buying some props and shit so it’ll be fun.

Candy Drips: What can audiences expect from your sets?

Nedarb: Honestly every act including myself on this lineup has crazy lit sets. Tons of mosh pits, crowd interaction, intimacy but mainly blood, sweat and tears.

Candy Drips: The tour goes from Minneapolis to Chicago and passes right through your home state. Are you salty you don’t get to play back home? When’s the last time you were in Wisconsin?

Nedarb: Wisconsin actually isn’t my home state. I grew up in Alberta, Canada throughout my elementary years then mainly grew up in New Hampshire. I’d say NH is my home state. I moved to WI in 2010 cuz of my dad’s job/me going to college there. But nah, I’m not too salty tbh. I have a handful of people I’d like to see but I get to see them enough in other cities so it’s not too bad. I haven’t been to Wisconsin since maybe winter of 2015.

Candy Drips: You’re one of the more eclectic producers in the game, with ties to names like Ghostemane but also Milo and even with a side project known as The Cigs. Are you open to all kinds of music? Does it just depend on the day?

Nedarb: Yes, I listen to all sorts of music which is why I make all sorts of music. I don’t like to stick to one genre. I think more artists should be braver and try out different shit. But at the same time sometimes that ends up being corny. I just make what I wanna hear. Obviously I’m mainly involved in rap music right now but I grew up playing in emo bands and even making techno music on Garageband in high school. But yeah, shout out Ghoste that’s my bro and Milo is a day one homie I’ve known since 2010 where we met in college. More The Cigs stuff in the works too, shout out Cortex.

Candy Drips: Can we expect to see a Nedarb blues album down the road?

Nedarb: Ehhh maybe not Blues, I’m not a good enough musician to play Blues music [laughs].

Candy Drips: Candy Drips is dominantly a cassette label. Do you think tapes will always have a market?

Nedarb: Yes, I highly believe in and support cassettes and any physical copies of music because someday the internet could get wiped like who knows, and all of the digital music would be lost. Physicals are like fossils that people will find hundreds of years from now.

Candy Drips: We chatted for a while after James Laurence from Friendzone passed earlier this year. Can you speak a bit on the duo’s influence on your music, and the cloud rap movement in general?

Nedarb: Cloud rap was definitely the coolest shit to me in terms of rap music in the past 10 years. I love ambient music, emotional stuff, trap, melodic shit, etc. etc. and it was just a perfect mix of all of that.

I’d say Clams Casino and Friendzone are my top 2 production influences for sure. They just made beats that could make me cry. I’d never felt that way about other production before.

Candy Drips: Do you make music every day or does it come in waves?

Nedarb: It comes in waves. I’ll go weeks without making music but everyday I try to do something productive in terms of my career. Life gets hella busy tho, I really have to make time to make shit, but at the same time I never like to force anything. when I was visiting home in NH last week I made the most shit I made in the past few months, mainly because I felt refreshed and peaceful at home. Also whenever anyways says, “Come to the studio” or “Let’s work right now” I never want to [laughs] I just do shit on my own time and send it out.

Candy Drips: What can we expect from you as we close out 2017 and enter in 2018?

Nedarb: I’m TRYING to wrap up an album featuring production from myself with all my homies on the vocals. That’s gonna take a while though. The only shit I have planned aside from random singles produced by me here and there is a collab tape w/ TRiPPJONES dropping around Halloween and a collab EP w/ lil zubin sometime this winter. Oh, and also I’m pretty sure i’m gonna be doing some shit with Chynna, which I’m most excited about. Also just more GBC shit of course.

Candy Drips: What bottle of liquor are you grabbing from the corner store?

Nedarb: Lately I’ve been drinking tequila. I forget what the one I get is called but it’s like hella tall and the bottle is dark blue [laughs].

TOO LATE DONT READ by NATTYMARIblamblamfever:Go ‘head Nattymari. I’d really love to see him live with a few projection screens, fog machines and promethazine. He is the beast in the house of witch just melodically plodding through, one uncategorizable thump at a time.I wrote this seven years ago and it still rings true. The uncategorizable thump connoisseur Nattymari returns with a new album out now on the equally underground Clan Destine Records. Both stalwarts in the witchhouse scene but known for so much more than that labeling, Natty and Carl Clan Destine have pushed real vibes, championing DJ Screw, obscure southern rap, house, techno, minimal synth, LoFi and basically all things experimental. Much like this label Candy Drips, and its creators. It comes from a crystal clear love of rap and electronic music, all its filthy aspects, a desire to explore them, cultivate them, contaminate the mainstream from fissures in the depths while never engaging much with it, except to maybe snatch a sample, illegally. Which brings me back around to that wanting to see him live bit, it wasn’t meant to be, Nattymari is a ghost in the machine, a recluse, transmitting from a self commited exile.I don’t want things to go back to any Golden Era in music, I just want progression through experimentation and Nattymari has never let me down. Through tracks and visuals he has been throwing down the gauntlet for over a decade. And this album, Too Late Dont Read is no slouch in the throwed department.

From the jump,its already a journey. Gypsy Woman is a mellow, warped percolator that begins to jack like a raver dragging themself from the floor once the ecstasy high has burned off a little. The bass on His Masters Whisper is ominous and Nattymari utilizes hi-hats like the Legendary Traxster did in the 90s, he weaponizes them. I’ve Seen The Greatest Minds Of My Generation Destroyed By Meme Music gives me chills, a fully layered jaunt that reminds you, if you were fortunate enough to see them, of the videos he has created to accompany his sonic mutations. Its that fleshed out. Speaking of flesh (trade) AndSuper Creep sounds like a sex droid malfunctioning, humping the floor, crawling spider-like towards its horrified client (soon to be victim) while it’s insides violently bleep glitched music snippets as sparks shoot from its orifices. On If This Was Seven Years Ago All You Rappers Would Be Juggalos, a monster synth line is accompanied by a hilariously angry diatribe.

The B side starts with the slow burn of Her Smell and the Impact of Evil then immediately revs up next with Hose, an off kilterbeat with uptempo club touches and the title track, T.L.D.R has that post footwork urgency too. Next up, Cubby Ting is a dubby ting, a King Tubby ting, skanking along at a real rude pace. Slowing it down even more, Fuck Everybody hits that boulevard cruising speed and plays like a DJ Screw grey tape that has been warped in the heat of a Cadillac glove compartment. Complementing the chaotic flow of this album Bama Ghost is the only feature on the next track, Got All That Somethin with a delivery like a based Brotha Lynch Hung or more accurately, a Houston freestyle like my personal favorites, Big Wen from Beltway 8 or Al D from S.U.C. Kaybar closes it all out with a ghetto tech and breaks adventure clocking in at a minute and a half. Its not just some beat tape. It’s different. It’s Nattymari.

Cloud Rap is still alive in the eyes of Bay Area legend MondreM.A.N. The influential visionary has been active for over half a decade (with solo work and projects as part of Main Attrakionz) and recently gave us a batch of new material to bump. Not only did he announce a partnership with Jungle Strut music, but he also released a music video and single for the track “Helen Keller” (included above). Produced by Rav Mojo, the bass-heavy track showcases Mondre in his element. I spoke with 1/2 of the Best Duo Over over email and chatted about his future plans, the tragic loss of Friendzone member James Laurence, and the impact Monre has already made on the rap game.

Candy Drips: You just announced a deal along with releasing a single and a video. Was it a loose track or part of a bigger project?

MondreMAN: i recorded dat project in LA lyk a year or 2 bak. shout out jungle strut music, “i want tha world” will be comin out soon be onda lookout for alot comin frum dat project. bt it was kinda like a few otha projects in the past. i pretty much had da music done and then a support system came and wanted to help/be apart of this so we made it happen. shout out Greg & Rav Mojo for eythang.

Candy Drips: What can we expect from Mondre as we close out 2017 and enter into 2018?

Candy Drips: It’s tragic that James Laurence passed earlier this year, and I’ve found myself revisiting the Friendzone songs over the last few months. Care you to speak on Friendzone and the legacy they left behind?